THE TRUSTEES OF THE HUDSON GUILD CORDIALLY INVITE YOU AND YOUR FRIENDS TO VIEW THE LOAN EXHIBITION OF THE PICTURES OF JOHN SLOAN BEING HELD UNDER THE AUSPICES OF THE PEOPLE’S ART GUILD ON SATURDAY AFTERNOON, MARCH 4th FROM 3 TO 6, AT THE HUDSON GUILD 436 WEST 27th STREET TEA (OVER)R JOHN SLOAN is spoken of as the American Hogarth. In his masterly etchings, drawings and paintings, he depicts our time in a humane, witty manner. He was born in Philadelphia, a little over thirty years ago, and early felt the full weight of life, working for a living, while learning his art after working hours, since his fourteenth year. He is one of the foremost illustrators of our time acknowledged on both sides of the ocean, and, probably, our best etcher and draughtsman. Many books on American Art have Sloan on their pages. His work is well known from innumerable small exhibitions. But never before was this artist given so complete a representation as in this large exhibition at the Hudson Guild. In interpreting the life of the masses Mr. Sloan has taken for his subjects many scenes on the West Side of Manhattan, in the very district in which the Hudson Guild functions. MOTHER AND CHILD ON ROOF -ETCHINGTHE HUDSON GUILD 436 Wf.st 27th Street, NEW YORK EXHIBITION OF PAINTINGS ETCHINGS AND DRAWINGS BY JOHN SLOAN FEBRUARY 10th to APRIL 10th INCLUSIVE UNDER THE AUSPICES OF THE PEOPLE’S ART GUILD, 918 CAULDWELL AVE„ NEW YORKOne may enjoy life without a thought of art, yet it is the art quality that makes life worth living. It has been said of Jesus Christ that he is like a work of art. He does not really demand anything, but by being brought into his presence one becomes something. To bring the people’s life into the presence of art, the People’s Art Guild, 918 Cauldwell Avenue, New York, has arranged this exhibition of Mr. John Sloan’s work, as well as other art exhibitions, classes and lectures in different parts of this city. Love on the Roof, EtchingTHE ART OF JOHN SLOAN Beyond its first appeal, which is to our esthetic sense, all good art moves us with an even finer emotion. It lifts us up, carries us into a sweeter, nobler world, where, for the moment at least, we are able to put off the ordinary discouragement of the spirit that is our too constant companion in our daily lives. Often, much art that we see has little reward for us beyond the mere gratification of our esthetic sense; and it is its penalty and our recompense that it is soon forgotten. For unless art awakens this finer satisfaction and ambition in us it is useless, a cumberer of the earth. But there is another complementary attribute of pictorial art in particular that is too little dwelt upon. This is its importance and value as being a record of the social aspect of its time. When we look at the paintings of the early Italian Renaissance we can see, without consulting any history, how the Church not only dominated but was the inspiration of the great and little painters of that era. The social life of France, with its alternating times of puritanism and too great freedom, is reflected as in a mirror in her pictures that have come down to us from period to period. We know from the canvases and the etchings of the Dutchmen what life in the Low' Countries was like two hundred years ago, though we may never have had time to read a volume devoted to that subject. And in English pictorial art we find the same succession of social anecdotes that are quite as important to us as revelations of the life and the customs of the people who lived in these bygone times, what manner of people they were and how they dressed as they went about their work or their pleasures.Mother and Child on the Roof. Etching And it is just because the pictures of John Sloan contain all these qualities that I feel them to he of so great an importance. They awaken our esthetic sense by their beauty of form and color; they lift us up into a finer world of the spirit by the grave purpose of setting down a faithful record of the life around us that always animates Sloan’s art; and they round out this tale of the qualities I have set down by being truly remarkable representations of certain characteristic expressions of the lives that are being lived about us to-day. The world is full of artists who can satisfy our esthetic sense. But it is only once in a great while that an artist comes among us who can move the deeper depths of our natures. Rarer still is the artist who can pass through the world and leave behind him arecord of the life he shared that will become enduring. This is what John Sloan does in his pictures, and I know the time will come when the world will be glad that he painted the pictures and etched the plates that you see here on these walls. So when you look at them let me ask you not to see them only as “pictures”— rich in satisfaction and grave beauty as they are in that aspect but as narrations of incidents in our daily lives—shared in by you and me that in some distant day will tell to other people how we lived and worked and what our toil and its reward was like. Art, I am afraid, is something too often looked upon as a thing apart from the lives of most of us. But if you will look upon these paintings and etchings as something in which you and I and the painter .ill have a part, you will find that art is our brother and sister after all, something in which we all have a common affection and share. W. B. McC. The Berber Shop. EtchingAT THE REQUEST OF THE PEOPLE’S ART GUILD, MR. SLOAN WROTE THE FOLLOWING EXPLANATION OF THE PROCESSES INVOLVED IN HIS WORK. Etchings are made on a copper plate covered with a coating of wax. Through this ground a drawing is scratched by means of a needle. The drawing lines are then “bitten” into the surface of the copper by acid. The longer and stronger the acid is applied, the deeper the line in the plate. For making a print from the plate, tile latter is covered with printing ink which is forced into all the lines, after which the surface of the plate is wiped more or less clean. The paper on which a proof is to be taken is then laid over the plate and passed under great pressure between the rollers of an etching press. The paper being dampened, it is forced by the press into all the lines and takes up the ink. Corrections in the copper plate are made by scraping down the copper plate in the place to be altered. The back of the plate is then tapped up. by light hammering, to restore the level of the corrected placed which latter is then coated with wax ground, to be drawn upon and etched. A Dry Point is not an etching. It is made by scratching the drawing on the bare surface of the copper plate, which is covered with ink—no acid biting, this time—wiped off and printed in about the same manner as if the plate were etched. bor making Lithographs, a drawing is made upon the grained, flat surface of a calcareous stone by means of a crayon or ink composed of tallow, white wax, shellac and common soap. The stone with the drawing upon it is then sponged over with a weak solution of acid. In printing, the whole surface of the stone is dampened with water, then a roller charged with printing ink is passed over the whole surface. 1 he damp surface of the stone repels the print-ing ink, that is caught by the greasy particles which compose the drawing. The stone covered with paper is then passed under a line of pressure, in a lithograph press. The paper receives the ink particles and a proof results. ... A li' graph, like an etching, is an “original,” the proof being made directly from the artist’s drawing itself—with no intervening process. . . . As a matter of convenience, many artists produce li graphs by drawing upon the surface of li transfer paper, which drawing is then transferred to a polished stone and printed in the regular manner. These results, while often beautiful, are not, strictly speaking, original li graphs, but reproductions of drawings. For a Monotype, a piece of polished metal or glass is smeared with oil paint or printer’s ink. A drawing is made on the paint-covered plate, by using a rag, or a brush, or a finger, or burnt match The Willow Bough PaintingGloucester Idyll Painting sticks (to obtain all sorts of touches), or anything that will produce the effect desired by the artist, who obtains his proof by covering the plate with a piece of slightly dampened paper, and by passing it through an etching press, or—in the case of a glass plate—rubbing the paper thoroughly by means of an ivory paper cutter, or the thumbnail, or any suitable instrument. The paper picks up nearly all of the paint or ink upon the plate, so that only one print may be obtained. Hence the name, mono-type. Sanguine is a red chalk made from iron oxide, so called from its color resemblance to blood. In drawing, it may be easily applied with the crayon-stump or with a finger. It may be secured to the paper and prevented from rubbing off by “fixing”—that is, by a spray of alcohol-diluted shellac.DRAWINGCATALOGUE PAINTINGS 1 HUMORESQUE 2 GIRL OX GRASS 3 GLOUCESTER LYRIC 4 AN APPLE TREE 5 LITTLE ONES AND BIG 6 FOG ON THE DUNES 7 PLAY ON ROCKS 8 ROAD TO THE NECK 9 GLOUCESTER CHILDREN 10 PIG PEN BY THE SEA 11 ISLAND AND BAY 12 RED BRAIDS 13 VILLAGE CHILDREN 14 WILLOW AND ROCK 15 WILLOW BOUGH 16 TURQUOISE BAY 17 HANGING OUT HER WASH 18 ORCHARD WALL, AFTER- NOON 19 WHITE HOUSE AND SU- MACS 20 ROOF GOSSIP 21 THE HAIRDRESSER'S WIN- DOW 22 BOY AND MIRROR 23 BRIGHT ROCKS 24 THREE A. M. 25 BROWN SALLY 26 SALLY AND SARAH AND PETER AND PAUL 27 PIGS AND GREEN 28 ISADORA DUNCAN 29 PINK AND BLUE 30 BETWEEN BAY AND OCEAN 31 CATSPAWS 32 SIX O’CLOCK. WINTER 33 SOUTH BEACH 34 PIRATE HILL 35 FIFTH AVENUE 36 LEOPARD ROCKS 37 FRANCES AND KATE 38 BLUE KIMONO 39 A SAVINGS BANK 40 RECRUITING IN UNION SQUARE 41 THE HAYMARKET 42 RED ROCKS AND QUIET SEA 43 TURK ROCK 44 TAMMANY HALL 45 GREEN SWIRLS AND FOG 46 WAKE OF THE FERRY 47 CARMINE THEATRE 48 THE CHAUFFEUR’S HOUSE 49 SIXTH AVENUE AND THIR- TIETH STREET 50 ELECTION NIGHT ETCHINGS 51 MOTHER 52 THE BARBERSHOP 53 SILENCE 54 MEMORY 55 JEWELRY STORE WINDOW 56 TREASURE TROVE 57 PRONE NUDE 58 STANDING NUDE 59 MOTHER AND CHILD ON THE ROOF 60 GIRL IN KIMONO 61 GIRLS RUNNINGDRAWINGCATALOGUE 62 RAGPICKERS 63 GIRL AND BEGGAR 64 MARS AND BACCHANTE . 65 RETURN FROM TOIL 66 LOVE ON THE ROOF 67 GIRLS SLIDING 68 GIRLS SEATED (DRY POINT 69 SWINGING IN THE SQUARE 70 COMBING HER HAIR 71 ISADORA DUNCAN 72 ANSCHUTZ TALKING ON ANATOMY 73-84 GROUP OF CITY LIFE ETCHINGS 85 PORTRAIT, PAUL DE KOCK SERIES OF ETCHINGS MADE FOR NOVELS OF PAUL DE KOCK 86 AT THE CAFE 87 THE BURNING GOWN 88 THE CHARTREUSE 89 UNWELCOME ATTENTIONS 90 OPEN AIR THEATRICALS 91 THE POOR ACTOR 92 JEAN AND ROSE 93 DRUNKEN ADVICE 94 MERRY SUICIDE 95 WATERING THE WINE 96 COUSIN BRUILLARD 97 THE BARONESS 98 THE COUNT’S FIREWORKS 99 QUACK HYPNOTIST 100 LUCILLE’S ENGLISH LES- SON 101 FALL OF MME. BOULARD 102 LITTLE SAVOYARDS 103 THE GREAT BOAR HUNT 104 VISITING THE COUNT 105 PIERRE DROPS IN 106 ZIZI FAINTS 107 NAXON BEATS THE DRUM 108 SUICIDE PREVENTED 109 DRINKING CHAMPAGNE LITHOGRAPHS 110 EVENING, 27TH STREET 111 PREHISTORIC MOTHER 112 FOR SURE GOLD FISHES 113 PING PONG PHOTOS 114 LUSITANIA IN DOCK. 1908 115 AMATUER LITOGRAPHERS MONOTYPES 116 AT THE WASH TUB 117 MUSIC IN THE YARD 118 NYMPHS 119 HANGING OUT CLOTHES 112 BATHERS 121 THE SWELL HEARSE 122 ISIDORA DRAWINGS 123 “PROFESSOR, PLEASE PLAY THE ROSARY” 124 MR. GLUMEAU HAS A PAIN 125 THE LADY PLASTERER 126 THE ELIXIR OF LIFE 127 AFTER THE DUEL 128 AFTERNOON CALL 129 KISSING THE OLD LADIES 130 THE BOY AND THE MODELDRAWINGCATALOGUE 131 THE FIGHT WITH COCHER 132 SCHOOL PUNISHMENT 133 SHE SCORNS THE ROSE 134 BRUSH SKETCH 135 GIRLS AND BEAUX 136 DANCING PA VILLI ON, 1892 137 DODICHET AND THE DANCER 138 PITTSBURGH 139 PUTTING THE BEST FOOT FORWARD 140 THE PAST AND THE FUTU- RIST 141 INDIANS ON BROADWAY 142 THE HAIRDRESSER’S WIN- DOW 143 CELLMATES 144 D.D. AND I.W.W. 145 RURAL POLICE IN PHILA, 1909 146 A “GOOD FIGURE” 147 PHILOSOPHIC ANARCHIST 148 WOMAN’S PLACE 149 REVERENCE 150 AT THE CANDY COUNTER 151 STANDING WITH RELUCT- ANT FEET 152 “WHY HE?” 153 THE PICKETS AND THE SCAB 154 A NET RESULT 155 CATTLE 156 "HARD LUCK” 157 LUDLOW, 1914 158 THE WAR OVER—A MEDAL AND MAYBE A JOB 159 GUNS FOR MOROS 160 HIS COUNTRY’S FLAG 161 ONE WORKER’S WIFE, ONE WORKER’S SON 162 BEHAVE, JIM, OR I’LL JOIN ’EM” 163 “FULL HOUSE UP HERE!” “NO GOOD, I’VE FOUR Ki ngs” 164 A SPLENDID PIECE OF FUR 165 REFORE HER MAKERS AND HER JUDGE 166 CANDIDATE FOR THE CON- STABULARY 167 THE STRIKE 168 A NIGHT IN RUSSIA 169 A CHANCE ACQUAINTANCE 170 RACE SUPERIORITY 171 GIRL AT TABI.E 172 THE BIG BUYER IN TOWN 173 HALF A MILLION FOR ^ MADONNA! 174-203 DRAWINGS IN PENCIL CRAYON AND SANGUNIE ’You are cordially invited to become a member of the People s Art Guild, 918 Cauldwell Avenue, New York. MEMBERSHIP DUES. Any person actively engaged in the creation or dissemination of art and duly elected, after paying $1. for initiation, and $1. a year, shall be an Active Member. All persons belonging to any one of the classes mentioned shall be entitled to vote at the general meeting of the Guild. Any person contributing $1 a year shall be a Popular Member. Any person contributing $5. a year and duly elected shall be an Associate Member. Any person contributing $10. a year and duly elected shall be a Member. Any person contributing $25. a year and duly elected shall be a Patron. Any person contributing $50. a year and duly elected shall be an Associate Donor. Any person contributing $100. a year and duly elected shall be a Donor. Any person contributing $500. at one time, and duly elected as such, shall be a Life-member. APPLICATION BLANK. TO BE TORN OFF AND MAILED TO THE PEOPLE’S ART GUILD, 918 CAULD- WELL AVE., NEW YORK. The undersigned wishes to become a member of the People’s Art Guild. Please find enclosed $....................for annual dues. Name............................................................. Street .................................................... City and State.........................................THE PEOPLE’S ART GUILD 918 CAULDWELL AVE., NEW YORK CITY A QUOTATION FROM THE GUILD’S PROSPECTUS. Artists and the people are now going by diverging roads, both losing greatly by this separation. Artists, on the one hand, deliberately place themselves in total dependence upon a small class of art patrons, and seek neither inspiration nor subsistence among the masses. As a result, economic and spiritual poverty is now generally prevalent in artists' ranks, a condition which is becoming more and more acute because of the increasing output of the numerous art schools and academies. The people, on the other hand, feel no vital reality in our art. They think it a handmaid of luxury, the vocation of remote individuals, the prerogative of the “upper classes” only. Hence it seems proper for a man of the people to steep his life in sense-dulling surroundings. relieved at most by a holiday glimpse at art, snatched in a distant museum or at a strange exhibition. Plainly, the people’s aesthetic privation is as complete as the artists’ physical and mental discomfort. The People’s Art Guild appeals to social minded and art-loving persons to undertake the solution of the art problem of to-day by helping to bring about a direct approach of artists and the people, so that in the midst of a beautifully active people a hospitable home for great artists may arise. Hence the People’s Art Guild invites artists to re-enter the life of the people and to make their art a token of kinship, and, the people, to take a rightful share in art creation, to foster its own aesthetic powers, and to grow to a sensitive appreciation and enjoyment of the best in art. As an initial step in its activities, the working members of the People’s Art Guild are opening art-classes, study-groups and workrooms in schools, settlements and artists’ studios, all of which will ultimately find an organic harmony through a sufficient number of art centers located near the homes of the people. In these People’s art centers a well-chosen collection, congenial to the ethnic and traditional character of the vicinity, will form the seed from which creativeness may sprout. For the practical accomplishment of its purpose, the People’s Art Guild enlists an active membership of art-workers and an associate membership of art patrons. In this manner physical and spiritual participation in the work of the Guild is afforded to many different persons. Mode Art Co 22S Fifth Ave . N. Y.